Black Bordello present an otherworldly music video for single Acid Mary, directed by frontwoman Sienna Bordello and Natasha Kinaru. The band are known for their phantasmagorical aesthetics, with their films often featuring characters undergoing macabre metamorphoses. And it begins in a highly stylised drinking hall with chequered floors, where a number of shady characters sip whiskey and smoke over a poker game, like a scene from a classic movie.Raging with a Cure-esque guitar hook, meandering basslines and vocals reminiscent of Siouxsie Sioux, the track tells a littoral elegy about romance with a siren. In the video Sienna enters and delivers her sermon, soon breaking into an uncontrollable fit which launches her and her chosen victim into dark ominous waters, where their courting dance soon turns to ethereal brutality.

Swedish directing team Deathkiss direct a thought-provoking promo for London-based duo Oh My Sun. The video for Apocalypse Baby explores life through the eyes of a baby, exploring the darker side of society and the rather Hellish realm the child has been born into. At times claustrophobic and dizzying, the frantic POV camerawork creates an engaging and intimate aesthetic, which is seamlessly blended into the concept. "Perhaps the apocalypse isn’t some distant, world-ending event, but something much closer to home," say the directors."Maybe it’s modern life - the way we treat each other, ourselves, and the planet."

Creative collective Maschima direct an out-of-this-world epic for legendary outfit Tears For Fears' latest album. Consisting of four tracks from Songs From A Nervous Planet, the video follows an interconnected narrative exploring dreams, memories, space travel and the planet we inhabit. Across the four songs Maschina contrast the beauty of the natural Earthbound world - represented by a young woman in sun-dappled California, on a beach, among sunflowers, captured in warmly glowing film footage - with the crisp, VFX-fired wonder and beauty of space exploration.In the third and fourth songs, the two elements come together: the Astronaut (the title of the second song) crashes back to Earth. Then the woman, her growing son and the wandering space traveller finally encounter each other. As a collective, Maschima encompass a range of visual skillsets, and they are on full display here. Spanning animation, live action, graphic design and more, it's a momentous achievement and a truly international effort. And the music is pretty damn great too: Tears For Fears' Roland Orzabal is still capable of writing big Beatles-esque pop tunes."We've all been fans of Tears For Fears since we were kids," explain Maschima. "This video series gave us the opportunity to craft a cinematic story that unfolded over four episodes - like creating a miniature TV show. Writing and building the narrative as we went, all while collaborating with an artist we deeply admire."The directing team describe themselves as 'an international art collective' with a shifting membership and . "We have known each other for ages, working in secret, building worlds under countless names and aliases - for projects both mainstream and underground," they continue. "Individually, we direct, shoot, edit, paint, compose, sculpt, build, destroy, and rebuild. Together, we are a multi-limbed beast with many brains but one mind."One of the members connected to Dilly Gent, working as creative director and commmissioner for Tears For Fears on the Songs From A Nervous Planet visuals."As longtime fans, we knew this was the perfect moment to finally come together - a filmmaking Voltron, fully assembled."

italian directing duo LateMilk deliver a captivating video for AJ Tracey and Jorja Smith's collaboration on the song Crush.Newly signed to Ocurens, the directors reunite Tracey followng their recent video for Heaterz, marking a long-awaited return collab between the grime star and Jorja Smith, the video unfolds a compelling story through a dynamic split-screen format, showcasing two parallel lives.The track is 'rhythm and grime' - where the duo play heartsick lovers over a sample of Wretch 32’s 2006 tune Used To Be, itself featuring a Brandy sample from Love Wouldn’t Count Me Out - dripping with '00s nostalgia. LateMilk's video works within the recognisable idiom of British grime videos while also elevating the mood with R&B touches.LateMilk create a visually striking world, balancing atmospheric lighting with a narrative thread, that feels polished and also intimate. The dynamic use of color, shifting from warm, intimate tones to cold, stark hues as the characters’ paths converge, highlights their ability to elevate simple moments into a transformative experience. The directors work the chemistry between the artists, and their independent star quality - as they are mainly on screen separately, or brought together by the use of split screens. Jorja Smith has always had a great relationship with the camera, and she looks particularly at ease here. It's up there with her best on-screen performances. While AJ Tracey radiates charisma largely by playing it cool. It is a pleasure to watch from start to finish, as we wonder if this well-matched pair will get it together. By the end, when they meet in the café, you are really rooting for these guys.